August Klughardt (1847-1902)
was born in the German town of
Köthen
in Saxon-Anhalt. After studying music locally, Klughardt began to earn his
living by conducting. He served in several locales, including Weimar where he
worked from 1869 to 1873. There, he met
Franz Liszt,
which was very important for his creative development. While influenced by
Wagner and Liszt, Klughardt did not by any means entirely adopt the ideology of
their New German School, refusing to write tone poems and instead concentrating
on
symphonies
and
chamber music.
The influence of
Robert Schumann,
and to a lesser extent Brahms, certainly is equally important. It was his
failure to whole-heartedly adopt Lisztian principals which led to his being
labeled as a conservative composer.

Klughardt received considerable recognition as
composer and won many distinctions, but today, sadly, his music, with the
exception of one or two pieces, is entirely forgotten. Writing of Klughardt's
String Quintet in his Chamber Music Handbook, the famous chamber music critic
Wilhelm Altmann has this to say:

"Although Klughardt's music, in his time, excited considerable interest, he has
now joined the ranks of the forgotten composers of the past--a fate he in no way
deserves as his Op.62 String Quintet, composed in around 1890, clearly proves.
This is not only an outstandingly well-written piece, it also sounds good and
attracts one by the strength of its invention. And it is in no way beyond
experienced amateur players. The outer movements show a strong Hungarian or
Gypsy influence. The first movement, Moderato, begins with a short fanfare which
immediately leads to a Hungarian cadenza in the first violin. The somewhat
elegiac main theme is especially beautiful. The second subject reflects
Hungarian tonal colors. The whole movement could perhaps be styled a tribute to
Brahms. The second movement, Andante, is a set of effective variations on a very
simple but lovely theme. The third movement, Allegro moderato, is a distant
relative of the minuet. The main theme recalls a similar movement in Brahms'
Op.51 No.2 string quartet. Of great interest is the trio section, a canonic
episode between the first cello and the first violin. The finale, Allegro
vivace, immediately flashes its Hungarian tonal color. This and the magnificent
second subject make it every bit as effective as the Hungarian finale to Brahms'
Op.25 Piano Quartet. A fiery coda, which recalls the opening movement, brings
the work to a close."

In addition, we are pleased to offer this Quintet
in a version for 2 Violins, Violas, Cello and Bass.
Our bass part was
made by Anthony Scelba, noted bass soloist, Professor of Music and Director of
the Concert Artists Program of Kean University. Professor Scelba has created an
idiomatic bass part that adds breadth and clarity to the timbral spectrum of the
work, making it a welcome addition to the double bass chamber music repertoire.

Out of print since the First
World War, we are pleased to reintroduce a work which should be a valuable
addition to the scanty repertoire of string quintets for two cellos.